Highbury Hall Open Day: Light, Shadows and Hidden Rooms

by Damien Walmsley 05/08/2026 05/08/2026

Highbury Hall, visit with Igersbirmingham UK

A Morning at Highbury Hall

Highbury Hall is yet another place that I have not visited during my time at Birmingham. Fortunately, IgersbirminghamUK provided the opportunity and our visit coincided with an open day at Highbury Hall and Trust. The day was going to be warm and sunny. I arrived early and took the opportunity to have a few minutes moving around the front of the house and taking pictures from the end of the parched lawn. The grounds are extensive and many people were out walking through the paths beneath the trees.

Soon it was time to enter Highbury Hall where the IgersbirminghamUK team greeted us and we were then given a brief background of Highbury Hall by Lucy Bailey‑Wright, who is the activities planner for the Trust. The photographers were given an hour to explore the Hall before the official start of the open day.

Inside Highbury Hall: The Library and Main Hall

The main rooms of Highbury Hall are south facing and therefore the large rooms were bathed in sunlight. Lots of window light provides ideal lighting conditions for photography. We were encouraged to visit the library where Joseph Chamberlain worked and met visitors. This was an impressive room with books lining one wall and wood-line panelling on the other walls and ceiling. The feature of the room was three leather chairs set up against the net curtains that diffused the light.

Whilst other rooms had minimal furniture, they still looked magnificent with the midday sun entering in through the large windows. The dominant feature of the building is the main hall area with a staircase leading to a balcony that allows viewing down into the area. Birmingham City Council hire out the hall and this is a spectacular setting for weddings and civil partnerships.

There are several upstairs rooms where you can look out over the gardens and see the expanse of woodland. Talking to Lucy, I learnt that only around 12 of the rooms are open to the public whilst the house has 60 rooms. There was to be a tour at 1.30pm to explore the hidden part of the house and I signed up to see and find out more.

The Hidden Rooms of Highbury Hall

Around 20 of us gathered in the great hall and Lucy explained that we would be entering into part of the house that is not maintained to the same extent as the front part. We entered via the servant quarters and kitchens and started to explore the many rooms of Highbury Hall. Lucy gave a background to how the Hall had been used over the years since the Chamberlains had moved out and given the buildings and land to the city.

There had been different residents over the years including a convalescent home for soldiers recovering from the trauma of the first world war. For 50 years it was a care home for the elderly up to the 1980s. Hundreds of women were housed by social services in the hall. The remnants of their time in the many rooms at the northern side of the house are reflected by the different wallpapers in each room. There is a plan to restore and renovate these rooms to make them a community asset. I found them all to be full of objects or views that demanded to be photographed.

For the Instameet I had the following camera with me, Canon R6m2 with the EF24-70mm f/2.8L II USM lens. The camera worked admirably with the ambient light. Most of the rooms had large windows that allowed the light to show such details and the IBIS in the Canon found there was enough light to work with. As Lucy took us from room to room, I marvelled at the architecture and planning that had gone into the house. Whilst there was neglect present, the rooms still showed much dignity and I could understand why Lucy is so enthusiastic about the restoration of the house. The female residents had left memories of their time in the house via different wall paper designs and a montage of old photographs.

We then moved back to the balcony and explored the hidden rooms at the front of the house. Again, these spaces were beautiful and the views of the surrounding woodland added to the magic. I understand that such views would be spectacular in the Autumn, so I will have to return! I was captivated by the house and the rooms, especially hearing about their history and the plans on how they will be brought back to life.

Highbury Hall’s Grounds and Gardens

The outside is just as wonderful to photograph. I spent time walking around the grounds in and out of the trees, taking pictures of the house and the parklands. Despite the parched lawn due to the recent lack of rain, the house remains very photogenic. There are many open days planned and I would encourage people to visit. If you are a photographer, then you will so enjoy the play of light and shadows around the house.

If you enjoyed this blog then please fee free to read some other entries such as my visit to the Coffin Works in the Jewellery Quarter.

Photographing the Coffin Works: An insight into Birmingham’s Industrial Heritage

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Digbeth Canal Walk: Discovering Birmingham’s Hidden waterways

by Damien Walmsley 22/07/2026 25/07/2026

Meeting at Centrala Space for a Digbeth Canal Walk

PRISM Photography linked up with the Canal and River Trust and organised a Digbeth Canal walk along the towpaths of the Birmingham Canal Navigations. Our guide for the photographic walk was Tom Hicks, of Black Country Type fame. We met at Centrala, which has a canal side location. The group of photographers included a mix of familiar and new faces, and soon there were friendly discussions between us.

Tom Hicks and Black Country Type: A Colourful Presentation

Francesco Falciane from PRISM Photography welcomed us and introduced Nick Cleaver, community engagement officer from the Canal and River Trust West Midlands. Next, Tom Hicks gave us a short presentation about his photographic work with Black Country Type. His pictures are full of colour and display a humorous take on life in the Black Country.

Onto the Towpath: Graffiti and Wild Foliage at Bordesley Junction

For the start of our Digbeth Canal Walk, Tom and Nick led us onto the canal via Great Barr Street. Immediately we were on the towpath, and the area became quiet, with the busy traffic fading to a low hum. We walked up to Bordesley Junction and explored the area. The walls are covered with bright, colourful graffiti, and the foliage had grown wild, escaping the constraints of the towpath. Old industry dominated the sides of the canal. Broken windows and missing drainpipes reflected its rundown nature.

Rubbish in the Canal: A Conversation with the Canal and River Trust

Rubbish was present both in and around the canal, much to Nick Cleaver’s disgust. “Why do people persist in dropping rubbish in the canal?” he asked. He went on to tell us that the Canal and River Trust spends much of its budget on keeping the canals clean. If people looked after the canals, then the money could be spent on more worthwhile projects.

The Bond, Peaky Blinders Studios and MasterChef’s Warehouse

Tom Hicks was on hand to talk about his work, but what was most fascinating was watching what he photographed. I learnt a great deal just from watching Tom take pictures and seeing how he composed them. All his photographs were taken with his phone camera.

We retraced our steps along the towpath. The Bond centre looked neat and tidy from our side of the canal. We were also next to the film studios of Stephen Knight, creator of Peaky Blinders. The studios were just behind the graffiti on the canal walls.

Beneath Curzon Street Bridge: Digbeth Canal Photography Meets HS2

We passed artwork by Annatomix on Our Digbeth Canal Walk and then the warehouse where MasterChef is filmed. In comparison to the Bond, the area alongside the canal looked ill-kempt. Canal boats passed through as we entered the magical underworld beneath Curzon Street railway bridge. We had now left Digbeth as we emerged on the other side of the bridge and were immediately greeted by the high steel pillars of the HS2 works.

White plastic sheeting covered the large engineering statues, which would soon become part of the HS2 terminal for Birmingham. We moved on to the Birmingham City University campus and photographed the new developments taking place there. One of my favourite buildings is the lockmaster’s cottage, with its boarded door and windows decorated with Lucy McLauchlan’s artwork.

Back to Centrala Space: Reflections and What’s Next

It was time to make our way back to Centrala for a debrief and refreshments. This was the third and final instalment of the recent canal walks run by PRISM Photography in conjunction with the Canal and River Trust. I was pleased that I was able to join one of the walks. Of the three the Digbeth Canal walk was the one that I wanted to join most. Next, we submit three photographs from the day and wait to see which of these is selected for the exhibition at Centrala in August. More details to follow.

Digbeth has been covered in my blog and here is a link to get you started. As a member of the Canal and River Trust, I enjoy walking along the canals and I have covered other cities including Manchester and the Regents Canal, London.

Hello Manchester, my old friend

Walking the Regent’s Canal – the Shoreditch stretch

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Photographing the Coffin Works: An insight into Birmingham’s Industrial Heritage

by Damien Walmsley 18/07/2026 19/07/2026

The Coffin Works, a photographic journey.

The Coffin Works Birmingham sits on the edge of the Jewellery Quarter and is a place that I have wanted to visit for some time. On the spur of the moment, I booked a ticket, and the next day I was at the Coffin Works, where I met Robin, who was to be my guide for the morning.

A One-to-One Tour

I was the only one booked in for the early tour, so I was fortunate to have a one-to-one tour of the museum. Robin, who is a member of the Church Monuments Society, has a deep knowledge of the Coffin Works, and throughout the tour he provided a fascinating history.

We started in the courtyard. Looking up and around, the new Birmingham towers looked down at us. The traditional architecture of the building is in direct contrast to the new surrounding buildings.

The Workshop Floor

I learnt that coffins were not made in the factory. The Coffin Works manufactured the brass fittings and other metal work that is attached to coffins otherwise know as Coffin furniture. Robin took me into one of the workshops with the heavy metal machinery that was used to mould and cut out the coffin fixtures. There was a demonstration of one of the working machines, and an “RIP” metal label was produced.

Fittings Fit for Royalty

We left the workshop to climb to the first floor at the front of the building, where there was a timeline of many of the elaborate funeral fixtures that had been made during the operation of the Coffin Works. I was most impressed with the coffin handles that had been made for distinguished people over the years, including Joseph Chamberlain, Cardinal John Newman, Winston Churchill and members of the Royal Family. Robin provided a background story to the items on display. The mixture of industrial craftsmanship backed up with human stories made my visit memorable.

The Shroud Room

The second floor of the Coffin Works is where they made shrouds. The room had a bank of Singer sewing machines along the window, and three mannequins were dressed in shrouds at the end of the room. Examples of the intricate work involved in making the shrouds were on display, including shrouds made for the local football teams, Aston Villa and Birmingham City.

The room was set up with examples of the working day, and even the cups and teaspoons plus the tea rota were on display. The administration offices were neatly laid out with the paperwork and included the latest typewriters of the day.

The End of an Era

Robin informed me that the Coffin Works eventually succumbed to the national requirement for plastic fittings, which were ideal for cremations. Over the last century, the number of cremations outstripped the number of burials. Slowly but surely, the traditional metal fixtures were phased out. The Coffin Works closed but then reopened as a museum under the ownership of the Birmingham Conservation Trust.

The Coffin Works – Final thoughts

The tour was finished, and I made my way downstairs to the entrance. I chatted to Paul, who had initially greeted me at the start of the tour, and had time to thank Robin for taking me around the Coffin Works.

The museum provides a history of Victorian Birmingham and the enterprise and vision of the Newman Brothers. There are many other similar places to visit, and the Whistle Factory is still open for business and offers group visits by prior arrangement. Please read my account of my visit there.

Whistling a Birmingham success

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Visiting the 11.59 Publication Studio of the Artist Steve Coel

by Damien Walmsley 09/07/2026 19/07/2026

Meeting Steve Coel

I first met Steve Coel on the streets of Stirchley during the “Stirchley Observation Project” in 2024. I took his picture and we started talking. He mentioned his artist background, but I did not fully connect that he was interested in photography as well. We next met at the Tom Hicks exhibition at Birmingham City University and have since met on a regular basis at the PRISM photography talks at 1000 Trades in the Jewellery Quarter.

The Artist Steve Coel and the 11.59 Production Studio — Steve Coel, an 11.59 publication.

Steve Coel’s work is produced under the name ‘an 11.59 publication’. He invited me to his studio in Stirchley to view examples of his artwork. I arrived early so that I could take a few pictures of Stirchley, then met Steve on the road bridge on the border of Stirchley and Bournville. Steve took me to his studio, which is behind the Attic Brewery. The old industrial estate houses several thriving businesses, the majority of which have artistic inclinations.

Imbue’s Workshop

On the way up to the second floor, we passed Imbue’s studio. This was a chance to meet the artist and see his workshop. I have written about Imbue’s work before, and I enjoy the combination of digital scanning with his thought-provoking vision of everyday life. After a look around his workplace, and the generous gift of one of the Imbue lucky rabbits (the plastic variety, not the gold ones), we went up to Steve’s studio.

Inside the 11.59 Publication Studio

There are around ten artist spaces on the floor, and Steve gave a brief background to each one. His own studio held many fascinating paintings and pictures. Steve browsed through his back catalogue of pictures, and I enjoyed viewing his work, which combines deep, rich colours and textures. He has a wide-ranging back catalogue, examples of which are displayed on the ‘an 11.59 Publication’ instagram account.

Steve is an artist first and foremost, but he is also an accomplished photographer. His recent pictures of the Selfridges building are excellent and formed the basis of a book cover for local artists. I enjoyed browsing through all the artwork and hearing Steve’s interpretation of how the different pieces of work came together. His artistic background allows him to push the boundaries of his work. Having a Welsh background means that many pictures have Welsh names, which adds intrigue to the interpretation of his work.

A chat over a cuppa

The afternoon finished with a cup of tea in the hot summer sun, on one of the wooden benches in the concrete Stirchley Triangle. We reflected about art, photography, Stirchley and life over a great cuppa, crafted by the Stirchley Spud Co.

Finally here are a few pictures of Stirchley taken during my visit to Steve Coel’s studio.

As always there is a chance to explore my previous blog entries and I include an account of my earlier visit to Stirchley.

Stirchley Taster with the Prism Photography network

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Photographing Sarehole Mill: History, Photography and Tolkien’s Middle-earth

by Damien Walmsley 07/07/2026 07/07/2026

Visiting Sarehole Mill

Sarehole Mill is not far from where I live but, surprisingly, I had never visited it despite living in Birmingham for many years. Every time I passed the mill, I made a mental note to return. This blog post came about when the opportunity finally presented itself.

There has been a mill beside the River Cole for more than 250 years. Originally used to grind grain into flour, Matthew Boulton later converted the mill to power machinery for his metalworking business. By the end of the nineteenth century, the mill had returned to producing flour.

J.R.R. Tolkien

Around this time, a young family moved into the area, and two brothers frequently explored the mill and the surrounding countryside. One of those brothers was J. R. R. Tolkien. The story of Sarehole Mill is now closely intertwined with The Hobbit, The Lord of the Rings, and Tolkien’s other works. The mill and the surrounding landscape helped inspire the Middle-earth that he created. The mill’s distinctive tower dates from the period when Matthew Boulton installed a steam engine to support his metalworking operations, and it is thought to have influenced some of Tolkien’s illustrations of Middle-earth.

History of Sarehole Mill

Today, Sarehole Mill is managed by Birmingham Museums, and there is a modest admission charge to visit the building. The fee is well worth paying, as the historical displays provide a fascinating insight into how the mill operated and what life was like in the surrounding area. I had not realised that Matthew Boulton had briefly used the mill for his metalworking business. There are also numerous references to Tolkien and the influence that Sarehole Mill had on his writing. I particularly enjoyed exploring the upper floors, where the various types of machinery used over the centuries are displayed. The morning light streamed through the windows, casting beautiful shadows across the wooden floors and ceiling, creating plenty of photographic opportunities.

The mill and the surrounding area

After exploring the mill, I wandered through the garden before searching for the classic view of the building across the mill pond. The viewing platform provides an excellent vantage point. Two herons stood nearby, so motionless that I initially thought they were statues. Unfortunately, I had not brought my telephoto lens, so I could not capture a close-up photograph. Instead, I left them to continue their silent vigil, patiently waiting for the perfect moment to catch a fish.

Leaving Sarehole Mill, I walked through the adjacent park towards the ford and road bridge, enjoying the remainder of the peaceful morning. Although the surrounding area has long since been developed, the tranquillity of the park on a Sunday morning made it easy to imagine what this landscape must have been like before the arrival of urban development.

Links to follow

If you wish to see more of Tolkien’s Birmingham then the two towers feature in my blog about Port Loop. The Tolkien family worshipped at the Birmingham Oratory and I have a blog describing this Birmingham landmark.

Port Loop

The Birmingham Oratory

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Photographing Digbeth: HS2, Canals and Street Art

by Damien Walmsley 28/06/2026 28/06/2026

Photographing Digbeth: the bridge over the River Rea. Art work includes Gent48.

Photographing Digbeth is always a creative and enjoyable time. My first serious photographic journey through Digbeth was in 2018. Since then, I have photographed Digbeth and the surrounding area on numerous occasions.

Photographing Digbeth: Including work by @brumpasteup — Photographing Digbeth: Trinity Street Including work by @brumpasteup

With the advent of the HS2 works, I wanted to see how construction was progressing near the Curzon Street canal towpath. The nearby Birmingham City University campus (BCU) is taking full advantage of the investment generated by the HS2 project. There is an incredible amount of building work taking place across the area. In spite of this, many problems still surround HS2, including repeated delays to its completion date.

Exiting Ashted tunnel on my way to Photographing Digbeth. The evolving campus of BCU greets you.

However, one cannot help but admire the engineering involved, and I was keen to photograph the large steel bridge that crosses the Birmingham to Lichfield railway on the approach into Curzon Street. To get close to the bridge, I walked down Northumberland Street behind the West Midlands Fire Service Headquarters. The bridge is tall and imposing, and the future trains will pass close to nearby apartment blocks. Walking across Lawley Middleway and looking up, the scale of the bridges dwarfs the surrounding roads and railways. The structures throughout the HS2 works are remarkable, although I do feel sorry for the nearby residents and businesses that have endured continual disruption during the construction.

Photographing Digbeth: The steel bridge that will take HS2 trains to Curzon Street. — The steel bridge that will take HS2 trains to Curzon Street.

Photographing Digbeth: A local train passes by the larger HS2 bridge over Lawley Middleway, — A local train passes by the larger HS2 bridge over Lawley Middleway,

Another noticeable change is the slow but definite gentrification taking place around Digbeth’s canal network. The Curzon Street railway bridge creates a long tunnel where the Digbeth Branch Canal passes underneath. This was once, not an area you would walk through alone. Now there are cyclists, runners and students making their way to lectures at Birmingham City University or just commuting into the city. You also encounter interesting people. During my walk, I came across guides from Birmingham Design Festival, whose handheld placards were helping visitors explore the canals. There is also a definite increase in canal boats along the old industrial waterways, bringing the area to life.

Photographing Digbeth: Photographing Digbeth: volunteers from the Birmingham Design Festival.

Photographing Digbeth: Canal boats and street art — A canal boat makes it way down the canal passing by the Fox mural by @Annatomix.

I continued on to Bordesley Junction, where the towpath becomes much quieter, yet even here I passed a runner. At the canal junction, the graffiti-covered walls provide a colourful backdrop, while the old industrial buildings tower above the waterways. Despite these changes, the area still feels uncertain and is not somewhere I would readily explore alone. No doubt the creeping gentrification will eventually reach this part of Bordesley as well.

Photographing Digbeth: Bordesley Junction — A lone runner passing through Bordesley Junction.

Heading back into Digbeth, I soaked up the atmosphere created by the busy shops and cafés. Redevelopment continues, and high-rise apartment buildings are increasingly surrounding the area.

Photographing Digbeth: The Old Crown with new flats being built. — The Old Crown has seen many changes through its 650 year history. Now the flats have arrived.

The streets around Gibb Street and Trinity Street are constantly evolving, with new businesses, nightclubs and street art appearing all the time. There are still a few artworks that I have to photograph, and I found this mural by @ginger_dan. Looking back at my photographs from 2018, the changes are striking. Old murals have disappeared beneath fresh paint, while new venues continue to emerge. Digbeth still retains its unique charm, and I hope it continues to preserve its distinctive character.

Photographing Digbeth: Street art by Ginger Dan. — Street Art on Trinity Street by @GingerDan.

Photographing Digbeth: Satellites of Love.

Photographing Digbeth: Pink Limousine on Floodgate Street.

Photographing Digbeth: Britpop rules. It sure does.

If you enjoyed this read then compare the changes in Digbeth to my first blog about the area. I have photographed Digbeth on several occasions so please review my index of articles to see more.

My Custard Factory Beat

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Developing a black and white world

by Damien Walmsley 15/05/2026 15/05/2026

Black and white photography is reinventing itself in the analogue world. I had the opportunity to take part in an analogue photography day courtesy of PRISM Photography. The course was organised by Francesco Felcini, who has a studio in Stryx Gallery, where he has a darkroom set up. There were three of us booked onto the course with Francesco.

The day’s timetable started with a morning briefing and the preparation of our film cameras. I had brought along my Yashica 107 Multi Program camera, which has served me well over the years. With our black and white film locked and loaded, we headed off for a stroll around the Jewellery Quarter. There is always a certain anxiety when you know that you only have 36 pictures to shoot. We explored narrow alleyways, cemeteries, and the streets of the JQ. After an hour, we were back for the next stage.

Developing the film was not straightforward for me. In the darkness of the changing bag, my sweaty hands nearly made a mess of loading the film onto the spools. Francesco came to the rescue and we were soon ready to pour the developing chemicals into the canisters. All went well and we hung the films up to dry.

When you are on a course with Francesco, lunch is an important fixture in the timetable. We had delicious food at the Urban Café, sitting in the sun-drenched front window. This was followed by coffee and cake back in the hidden garden of the Stryx Gallery café. The black and white negatives needed time to dry and, on our return to Francesco’s upstairs studio, we cut the strips and loaded them into archival sleeves.

Now it was time for printing, test strips, and eagerly awaiting the development of the photographs. There was a lot to take in and learn. I had developed films many years ago and had forgotten much of the technique involved. Francesco was patient with us and showed us how the enlarger worked, how to use the filters, and how to ensure that we achieved sharp images.

The lights went off and the red safelight came on. Test strips were made to determine the correct exposure time for the paper. We settled on 10 seconds and then off we went: light exposure followed by immersion in the developer and fixer solutions. Magically, the black and white image slowly revealed itself. We could finally switch the lights back on and see the finished print.

The black and white photograph of Warstone Lane Cemetery was not one that I had initially selected, so I was pleasantly surprised by how well it turned out. My portrait of John, the volunteer at Key Hill Cemetery, also came out well. John had been wearing a cap, which cast a dark shadow across his forehead, but I was still pleased with the result. The results of the pictures are the subject of the next blog post which may be accessed here.

A black and white stroll around the Jewellery Quarter

By this point, the day had almost run its course for me as I had to get back for a football match. Dom was still printing his black and white photographs from his newly purchased analogue camera. His results were terrific and made me think seriously about updating my own film camera.

This was a five-star course and one well worth attending if you are thinking about returning to the world of analogue photography. I would recommend joining the PRISM Photography mailing list so that you hear about future workshops and talks over the coming months. PRISM Photography encourages a different way of thinking about how you use your camera. Most importantly, everyone involved in the network is welcoming, friendly, and helpful.

My Blog covers different photographic techniques and you may want to try out oil and water or cyanotype photography.

Oil and water

Blue, Blue, my first look into the world of Cyanotype printing

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A black and white stroll around the Jewellery Quarter

by Damien Walmsley 15/05/2026 15/05/2026

This post follows on from the “Developing a Black and White World” blog. I had a 36 black and white film in my camera as I set off around the Jewellery Quarter. As you will see not all the pictures made the Final Cut. Still we had great fun and this is a pictorial diary of our walk.

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Blossom memories from Oozells Square

by Damien Walmsley 02/04/2026 02/04/2026

Each spring, Oozells Square in Birmingham is transformed by a brief but beautiful display of cherry blossom. In this reflective piece, I capture the fleeting nature of the season, the atmosphere of the square, and the photographic opportunities created by light, colour, and passing moments.

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The Photography and Video Show 2026

by Damien Walmsley 25/03/2026 25/03/2026

Overall, the Photography and Video Show 2026 at the NEC Birmingham was an enjoyable experience. With so much to see and explore, the day passed quickly. I may differ from many delegates, as I was not there to purchase equipment or products on the spot. I consider myself a reflective photographer and, for the time being, I am content with my current equipment. My main interest lies in how to present my work through photobooks and in exploring accessories that might support my photography.

A key feature of the show is the programme of talks, which I find can be somewhat variable. The open theatre sessions are often difficult to follow due to the noise from surrounding activities in the hall. In addition, space is limited for the more popular speakers. I particularly liked the Canon speaker setup, which felt more intimate and made it easier to hear the presenters. I found the talks given at the Amateur Photographer magazine festival of photography held in Greenwich earlier this year to be much more informative. Check out my blog on this event.

One talk I was especially keen to attend was by Helen Bartlett on family photography. Her work is highly distinctive, with a strong preference for black and white processing. She also shared valuable insights on how to approach younger members of the family. I came away with several practical ideas and felt inspired to try them out with my grandchildren. I attended other sessions as well, including those on double exposure and Photoshop techniques. Whilst these were informative, the background noise made them challenging to follow at times. This is one area where the photography and video show 2026 disappoints.

The show is also excellent for networking and meeting people. The Creator Playground (CreatorCon) was particularly enjoyable. One of my highlights was dressing up as a spaceman, and fortunately a local photographer, Jack Babbington, was on hand to take my photograph. The area was creatively set up with a variety of backgrounds, allowing visitors to immerse themselves in scenes ranging from snowy landscapes to the casinos of Las Vegas.

The models on the stands attracted considerable attention from visiting photographers. I have learned to be cautious about joining these crowded groups, where many are competing for the same shot. On this occasion, I chose to keep a respectful distance and simply observe the atmosphere.

I also enjoyed the virtual reality experience of deep-sea diving over coral shelves in the Seychelles. This carried an important environmental message, illustrating the contrast between healthy, dying, and regenerated coral ecosystems. However, the picture of people with their headsets on does look very dystopian.

Other favourites included the Disabled Photographers’ Society stand, where there is always interest in vintage cameras and accessories. I also enjoy trying the long lenses displayed on podiums, which allow you to appreciate the remarkable reach of such equipment. All the major manufacturers had impressive cameras and lenses on display.

One unexpected highlight of the photography and video show was the lucky dip at the SanDisk stand. After queuing to take part, I won an SD card holder. It was not something I had previously considered essential, but since the show it has proved to be a very useful accessory. Who would have thought?

I look forward to the next Photography and Video Show in London in 2027.

How has the Photography and Video Show changed over the years? Read my account of the show held in Birmingham in 2021.

The Photography Show 2021

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Every Frame a Story

Tag Archives: Birmingham

Highbury Hall Open Day: Light, Shadows and Hidden Rooms

A Morning at Highbury Hall

Inside Highbury Hall: The Library and Main Hall

The Hidden Rooms of Highbury Hall

Highbury Hall’s Grounds and Gardens

Digbeth Canal Walk: Discovering Birmingham’s Hidden waterways

Meeting at Centrala Space for a Digbeth Canal Walk

Tom Hicks and Black Country Type: A Colourful Presentation

Onto the Towpath: Graffiti and Wild Foliage at Bordesley Junction

Rubbish in the Canal: A Conversation with the Canal and River Trust

The Bond, Peaky Blinders Studios and MasterChef’s Warehouse

Beneath Curzon Street Bridge: Digbeth Canal Photography Meets HS2

Back to Centrala Space: Reflections and What’s Next

Photographing the Coffin Works: An insight into Birmingham’s Industrial Heritage

A One-to-One Tour

The Workshop Floor

Fittings Fit for Royalty

The Shroud Room

The End of an Era

The Coffin Works – Final thoughts

Visiting the 11.59 Publication Studio of the Artist Steve Coel

Meeting Steve Coel

Imbue’s Workshop

Inside the 11.59 Publication Studio

A chat over a cuppa

Photographing Sarehole Mill: History, Photography and Tolkien’s Middle-earth

Visiting Sarehole Mill

J.R.R. Tolkien

History of Sarehole Mill

The mill and the surrounding area

Links to follow

Photographing Digbeth: HS2, Canals and Street Art

Developing a black and white world

A black and white stroll around the Jewellery Quarter

Blossom memories from Oozells Square

The Photography and Video Show 2026